GUENOT PHILIPPE I would say that, after seeing all Peter Collinson's movies, he was a sort of British Dario Argento, if you consider some of his movies. Except concerning the pictorial aspect. But for the overall schemes of some of his movies, he reminds me Argento very much. Think of PENTHOUSE, STRAIGHT ON TILL MORNING, OPEN SEASON, SPIRAL STAIRCASE, FRIGHT, and from my point of view, you find many elements in common with Argento. This movie is fairly done, and the closest to Giallo genre for me, even if this scheme of the baby sitter threatened by a vicious killer has been told hundred of times before and after; in movies and TV episodes too. I will finish by saying that the poor Susan George had a bad year 1971, a difficult one, with features such as STRAW DOGS and FRIGHT to act in. And maybe some others too. I am sure that the producers and directors may have chosen her for dozens of screenplays involving terrorized women by home invaders.

RavenGlamDVDCollector The Susan George fan club president is here again (just kidding!) and my review of FRIGHT focuses more on whether or not this is a picture worthy of this lovely young starlet who unfortunately did not choose her parts well, and ended up in less conventional movies. And got dubbed (a) a sexpot (b) "poor Susan, always getting raped".FRIGHT, by today's standards, and by the kind of slasher flicks to follow in the wake of HALLOWEEN, is hardly a frightening movie. So if that's what you're looking for, you'd be well advised to stay clear. I wanted a good movie with suspense showing off Susan George to full advantage, and that is what I got, she is absolutely darling in this 1971 movie. At her best. Though I'd always have a special fondness for LOLA, better known as TWINKY. And DIRTY MARY CRAZY LARRY shall forever remain THE Susan George movie. But lookswise Susan's at the top of her game here. Did I say darling?The It girl of the late Sixties and early Seventies, Susan George was the best the silver screen had to offer at that time. Even today she'd hold her own looking the way she does in FRIGHT compared against the best of contemporary Hollywood. So just imagine her effect on the hearts and minds of men and women alike back in 1971! A blonde bombshell, and a very, very likable one too. Always cheeky in a very cute way, especially in FRIGHT, DIE SCREAMING MARIANNE and LOLA, Susan represents this reviewer's ideal dream girl, and it is saddening that alas! fate ruined her career with health obstacles. But for a time back there, she was the ultimate screen goddess, and her youthful exuberance will forever shine in my heart and mind forever. If you'd observe closely, she wasn't really Playboy pretty, more girl next door with just a fantastic figure and a really great hairstyle. Some people have a lot owed to choosing a great hairstyle, Farrah Fawcett- Majors, Jennifer Aniston... Include Susan George here. I did say darling, did I not?As for the picture, it really started off on the right track, but gets derailed and loses steam with an unconvincing villain and a script that falls far short as the story progresses. And that scene where she is trying to escape all busty-looking is filmed wrong. Unconvincing. Contrived. Film sexiness as sexiness, don't do it this way, it ruins all credibility and ruined my enjoyment of the movie as I from then on saw through all its mistakes.Honor Blackman was quite disappointing as well. Really, I can say a lot of good things about this movie: Susan's eyes, Susan's hair, Susan's legs. Without Susan, I'd not have bothered. Put it this way: Anything remotely likable about this movie besides Susan George? No. ZILCH.But, wow, nice chick. Unforgettable.

brettster "Fright" starts off extremely well. Susan George is a very pretty girl who comes over to babysit while the lady and gentleman of the house spend an evening out. The setup of this film is done very skillfully, and I was rapt with interest as the groundwork was laid for the terror to come. As Susan spends the first quarter-hour alone in the house, there is a growing sense of foreboding...and then, much to my disappointment, the film proceeds to slowly jump the shark. The source of the film's evil menace—which should deliver the paralyzing fright that the film's title promises—is far more annoying than horrific, and modern-day viewers are apt to be bewildered by the police response (if you can call it that), which involve standing around outside the house talking somewhat loudly. What a terrible pity this movie couldn't follow through on what starts out so well. Although Susan George is quite easy on the eyes.

Boris_G This is a clumpy prototype of the slasher films which were to become so ubiquitous by the late 1970s and '80s. It starts off promisingly, setting up the story with Susan George arriving as the babysitter for a slightly odd couple – the mother clearly on edge to the point of neurosis – and, after they leave, becoming spooked by the thuds and shudders of an old, time-worn house. However the script is clumsily constructed, so moments of tension are dissipated by switching back and forth between the house and the couple's evening out. The repressed virgin routine that Susan George goes through, also, has dated pretty badly and probably seemed fairly risible even in the early '70s when the film was made. Ian Bannen as the ex-husband gone homicidal does not ring true – the moments when he growls like an over-excited terrier are as frightening as he gets; a shame because he's so good in such films as 'Tales from Beyond the Grave' (Amicus) and, much later, in 'Gorky Park' and 'Hope and Glory'. As for Susan George, her character simply turns into a sopping wet, quivering pulp of nerves as if she were in 'Texas Chainsaw Massacre' instead of this very plodding drama. The DVD was only available as a Region 1, so – unable to view it as a rental - I bought it on the strength of its cast. Don't make the same mistake. Alas, I found myself in the end so uninvolved that I passed the time noticing how many times the music score (by Harry Robertson) ripped off Prokofiev's atmospheric Third Symphony.